Round 96's notes applied. What changed in the method: the model still paints each picture (P3's look), but what must be the game's is the game's. His mask is the burned mask's own model (tools/mask/mask_v2.mjs) built without its fire (tools/mask/build_clean.mjs), rendered by the game at the angle his painted face needs, coloured with the painting's own porcelain and put in (tools/paint_in.py); the lens is the game's lens rendered the same way; S15's objects were corrected one by one against the game's renders of them. A04 is dropped.
The burned mask's model, built clean. The compositions use the first.
Your "VERY GOOD" pose is the model's own (it mirrored and re-posed the render), so the main capsule is the SAME painting extended sideways: its middle is the vertical, pixel for pixel. The mask is the game's model (below), turned to his upturned face.
The painted mask and halo removed (the skull's face repainted where the mask hid it), then the game's mask in front of his face a little further out than the game holds it, and the game's attack lens laid flat higher above him.
Staged in motion (sent across the cave, caught mid-glide: body on the diagonal, legs trailing), painted at 4K; his bones break into rainbow sheens where the shaft's light reaches them. The painted mask replaced by the game's.
The camera further back and higher: the egg small at the foot of the shaft.
Round 96's header kept (where each object lies against the egg), each object then corrected against the game's own render of it (the viewer): the bone hand in the blessing gesture, the burned mask with its slit, broken eye and claw gashes, the rusty lodestone, the five glass orbs, the cut gem, the brass-rimmed lens. The painter's signature the model added is painted out.